Syftet med denna uppsats är att undersöka filmarbetares syn på regissörens roll i det svenska filmlandskapet för att ta reda på om det finns en rättvis bild. Samtidigt ska det också undersökas kring begreppet auteur och auteur-teorin för att se om det existerar idag och just i den svenska filmbranschen. Jag har intervjuat fyra svenska filmarbetare för att få svar kring hur regissörens roll ser ut och för att ta reda på hur välbekant begreppet auteur och auteur-teorin är. Slutsatsen är att regissören har en övergripande roll i produktionen där hen betraktas som en konstnärlig ledare som ska föra sitt team under en vision. Samtidigt framkommer det att begreppet auteur är bekant för vissa och existerar idag i det svenska filmlandskapet. Vad som definierar en som auteur är fortfarande en subjektiv åsikt och auteur-teorin är inte lika välbekant. En auteur kan vara både manusförfattare och regissör men andra anser att det ska innebära något mer, såsom en personlig stil. De intervjuade är eniga om att det bästa är att följa regissörens vision men att det är viktigt att låta övriga filmarbetare få känna att de bidrar till skapandet av en film. En manusförfattare eller regissör som inte är ödmjuk eller öppen för ta emot producentens förslag gör det svårare att få igenom sitt verk.

In the nearly 60 years since Doctor Who first aired in 1963, fandom and fan practices have not only evolved, but moved into the mainstream culture. Collecting and preserving information, and creating melodramatic fanfiction that explores the emotions of the characters, are now commonplace practices across a wide number of properties. This thesis examines this intersection between fandom and industry production using Doctor Who as a case study. Throughout Doctor Who’s original run, fans focused on archival practices as means of preserving the series. Today, fans draw on these archives to both watch and rewatch the series, which has led to an increased emphasis on continuity and the history of both the series and the characters. Fanworks, such as fanfiction often added dimension to the characters, exploring their emotions and psychology. This fan influence, in conjunction with the growing influence of American melodrama and seriality on television, can be seen in the Doctor Who revival. Additionally, the fans themselves who grew up watching the original series have become industry professionals who use their status as fans both in production and in the marketing of the series as a means of authentication as experts who best understand the property. Ultimately, I demonstrate how fandom and fan practices can color production and what that means for the television industry.

Thèse de doctorat : Sciences de l'information et de la communication : Metz : 2000. / Thèse soutenue sur ensemble de travaux. Bibliogr. f. 417-437. Index.

Thesis advisor: John Michalczyk / Werner Herzog is one of the most important directors of today. He is also, however, woefully misunderstood. These four essays attempt to refute some commonly held views about the director, but also to reinforce others. The first essay looks at his cultural heritage. The second essay places Herzog under the microscope of the Auteur Theory of cinema. The third examines his relationship with his volatile, long-time collaborator Klaus Kinski. The final essay turns to Herzog's documentary films and asks what role they play in his oeuvre. / Thesis (BA) — Boston College, 2008. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Fine Arts. / Discipline: College Honors Program.

During the past decade, Lucrecia Martel has emerged as the most respected filmmaker from South America. This thesis is motivated by my conviction that Martel's films are worthy of serious engagement and critical scrutiny. It is also motivated by my curiosity about the seemingly inexhaustible pleasure and edification I derive from them. Martel describes her filmmaking as "cine de autor" (auteur cinema). Indeed, her films evidence a personal involvement in every aspect of filmmaking. This thesis will define and explore the characteristics and conditions of her authorship. This thesis constitutes an expression of the enduring usefulness of auteurist criticism. In this case, this critical approach is entirely appropriate and likely to yield the deepest insights into the films. The introduction to my thesis provides pertinent biographical information and the necessary socio-cultural context to set the stage for an intellectual immersion into her three features to date: The Swamp (2001), The Holy Girl (2004) and The Headless Woman (2008). I propose that these films constitute a trilogy that distills Martel's experience of growing up in the remote province of Salta and critiques the social and cultural forces at play in provincial Latin American life. However, no matter how specific the sense of place the films convey and how grounded they are in subjective experience, they illuminate universal aspects of being a person in the world and contain progressive prescriptions for living from which anyone can benefit. My research into the literature on the films of Lucrecia Martel failed to find any serious and thorough appraisal of Lucrecia Martelâ??s films as a trilogy. While my analysis benefits from familiarity with the available literature, the operative critical approach privileges my direct experience with the audiovisual material provided by the films. Each film will be subjected to a close reading illustrated with images from it. These readings focus sharply on certain sequences I deem crucial to the conveyance of characterization, meaning and ideology. These readings aim to think with the films rather than think against or about them. They explore the themes and issues that arise within the narratives of the films as well as the formal means by which they do.

Thesis (M.A.)--University of Queensland, 2001. / Includes bibliographical references.

No description available.

In this paper I have examined how the structure of society affects the characters in the movies of Gus Van Sant, and what there is that characterizes Van Sant as an auteur. I have also looked at the thematics and how the characters develop throughout from his first movie Mala Noche (US 1985) until one of his latest Milk (US 2008). Van Sant is open with his Homosexuality and those perspectives are of major importance for this study. He presents how his characters try to live a normal life in a society that is not made for them. I have chosen to analyze five different movies. I discuss more closely about problems and how the characters develop when they are not in an outsider position to the society. It is the homosexual perspective that makes Van Sant an auteur. I will also use queer theory because Van Sant movies show homosexuals are struggling against society and are fighting to find an Acceptance of their own identities.

Thesis (Ph. D. in English)--Vanderbilt University, Dec. 2008. / Title from title screen. Includes bibliographical references.

Texte remanié de: Habil.-Schr.--Philosophische Fakultät--Bonn--Universität, 1995. / Bibliogr. p. 450-496.